Just to update, there was a performance at the Musical Instrument Museum by the Musica Nova Orchestra under the baton of Maestro Warren Cohen back in October of 2018. They played the first movement, "Squaring the Circle," which can be seen below:
0. Praeludium Lunare:
1. Squaring the Circle (sampled recording):
View the full score and all parts:
https://drive.google.com/open?id=1O3qqPNRIsa51-TfPV0y2G-4tejJNWO2D
0. Praeludium Lunare
A full moon occurs every 29.5 days, so 59 is two full moons. 59 is a prime number DdG 29.5, Gd 59, dd 99, Crc 108,
Cc 18, CDEAd 12.369, CGE 153 , DCA 216, EB since 37 is the number of moons in 3 years, root of 111, 22, 88 etc.
37 measures divided into sections of 18 and 19 measures since 18 is the number of years in a Saros eclipse cycle,
and 19 is the years of the Metonic cycle. 9/8 time sig. 9/8 is a whole tone, and the ratio of squaring the circles of
Earth and Moon on top of each other. 59bpm since there are two full moons in 59 days.
13 is the number of Aluminum, which is what vibraphones are made of. 5,12,13 Pythagorean triangles (maid,
mother, grandmother Ixchel), with the bisecting line dividing the 5 into 2 and 3, has a length of 12.369 (the number
of full moons per annum). The countermelody is vibes playing 13, 5 12 13, 12369, ie CE, G CD CE, CDEAd etc
Moon Magic Square has a Magic Sum of 369 (ie 12.369) and a Sigma Square Sum of 3321 (EEDC), and is a 9x9.
12 hit points on the magic seal for the odd/even shadings, 4 corners and the 8 shaded even number region wraps.
Tuba assigned to 4 corners (37, 5, 45, 77; EB, G, FG, BB), Horns 1 and 2 fiber muted (ww1) for the 2 innermost
region wraps, Bsn 3rd register (ww1) for the 2 outermost region wraps. Magic Square motifs can be played in
retrograde so it won't matter necessarily which order of occurence you read these squares, the talismanic effect
will be the same.
Binary form, but unlike most Baroque binaries, the B section is in the minor subdominant not the major dominant
(fm instead of GM). The reason for this is CF is a P4 and in Keppler's analysis of the celestial spheres, the only
occurence of the musical P4 is involving the moon. I also prefer the ivm as when you get back to I it sounds even
more uplifting, which is often done in Classical era pieces.
1. Squaring the Circle
65 bpm because the interplay of 6vs5 is half the sacred secret. This is why the horns play GA pads (5vs6).
Much of the 6vs5 ideas are dealt with in Sombre Paris for Wind and Brass Septet, but in sum:
6/5 where 6 is time and 5 is space. 6660in is 555ft
"Adenine is a hexagonal ring and a pentagonal ring, as is DMT, serotonin, and melatonin
There are 59 beads on the Rosary corresponding to 53 Hail Mary’s and 6 Our Fathers.
6 Gloria Patris for which there are no beads are also said in the Rosary bringing the
total number of prayers to 65.
The obverse of The Great Seal of the United States has 13 stripes (representing the
colonies), 13 stars in the “glory” above the eagle’s head, 13 arrows, 13 leaves, and
13 olives. 13 x 5 = 65.
In addition the feathers on the wings, 33 on the left and 32 on the right, add up to 65.
Also, through “Pythagorean addition” 32 becomes 3+2 = 5 and 33 becomes 3+3 = 6.
The wings of the bird then represent the relationship between 6 and 5.
Multiplying Phi squared by 6/5 is Pi
1.2 x (1.6180 x 1.6180) = 3.1415
Illuminant D65 6500 Kelvins" -Scott Onstott
12/5 and 6/5 Jerusalem rectangles
The hexagram vs the pentragram, hexagon vs pentagon, 6 v 5 (Pope Sixtus V etc)
1. Phi 1.6180339887 CACcrEEdccB // G: GEGgrBBaggF# // a: AFAarCCbaaG(#) // E: EC#EerG#G#F#eeD# // F or f: FDFfrAAgffE or FDbFfrAbAbgffE(b)
2. Pi 3.14159265 ECFCGdDAG // G: BGCGdDAED // a: CADAEbBFE // E: G#EAEBf#F#C#B // F or f: AFBbFCgGDC or AbFBbFCgGDbC
3. Phi^2 2.61803398875 DACcrEEdccBG // G: AEGgrBBaggF#D // a: BFAarCCbaaG(#)e // E: F#C#EerG#G#f#eeD#B // F or f: GDFfrAAgffEC or GDbFfrAbAbgffE(b)C
4. Pi^2 9.86960440109 dcAdArFFrCrd // G: agEaErCCrGra // a: baFbFrDDrArb // E: f#eC#f#C#rAArErf# // F or f: gfDgDrBbBbrFrg or gfDbgDbrBbBbrFrg

Thanks all, much appreciated on the feedback! I listened to that Mozart, I can see where the comparison is drawn there for sure. I guess I wanted it to be the opposite of Debussy's Society of Musical Esotericism and put everything out in the open. It's intended to be the opposite of elitist, a Fanfare for the Cultured Man, but everything presented so that anyone who wants can study it and learn it, for free. I guess the overwhelming amount of info can make it seem elitist anyhow though lol.
I wanted to tow a line between tonal populism and serialism, at once and in turn as well. Thus C major diatonic scale was chosen for the GPS and Geometric motifs, though the 33 note multi-octave scale has a few different scales within it that aren't necessarily diatonic. The trick was the pre-determined scales (a la 12 tone system) ushering in a cool melod yand harmony by leaving the rhythm free so I could compose something clever and listenable.
Should overall sound like a broken accordion, as though you're at a cafe in Paris but in a Black Lodge Twin Peaks sort of way.

Sombre Paris.pdf Sombre Paris - La VIlle Sombre.mp3
To support and for a higher quality version go here: https://connorhelms.bandcamp.com/album/sombre-paris-la-ville-sombre-sacred-geometry-serpant-for-woodwind-and-brass
For more information https://www.facebook.com/media/set/…
http://www.secretsinplainsight.com/…/…/bestart/Septenary.jpg
www.secretsinplainsight.com/tag/isis
http://www.secretsinplainsight.com/tag/paris/
_______________________________________________________________________________________ The official story of how Paris derived its name is based on a Celtic Iron Age tribe (the
Parisii) that inhabited the area around 250 BC. This tribe actually came from the
Parrhasians of Arcadia, went on to become the Celtic Parissi, and were then enveloped
by Rome. Legend says they came to France from Arcadia, under the lead of Hercules
(according to John Baptist Mantuanus). At any rate, the Parisii (a tribe of Isis worshipers),
were eventually enveloped in this new Roman empire by the 3rd century AD. Thus the
saying "Only Paris is worthy of Rome; only Rome is worthy of Paris." These deep and
cryptic origins of Paris continue. According to Bernard Mathieu:
"...Isis was named Pelagia (of the sea), or Euploia (of safe navigation) and Pharia (of
Pharos), and was said to have invented the sail and had a temple on the island of Pharos.
She was so famous in the whole Mediterranean world that we find her even in the 17th
century manuscripts, and comfortably installed ont the prow of the boat on the coat-of
arms of Paris which Napoleon commissioned in 1811..."
From Graham Hancock and Robert Bauval's 'The Master Game:'
"Julian [the Apostate] had governed Gaul - ancient France - for five years and had resided
in Lutecia, ancient Paris, for three years between AD 358 and AD 360. Julian and his wife
Helen were also devotees of the Alexandrian god Serapis and the goddess Isis-Pharia, and
may have imposed, or at the very least encouraged, her cult on the inhabitants of Lutecia.
At any rate, [17th century writer] Jean Tristan was to write:
'The Parisians received their name of Paria-Isis, because of the cult of this goddess which
had been introduced in Illyria and in Gaul, in the region next to the River Seine and in
Lutecia, called 'Lutecia of the Parisians' or Farisians...' "
Hancock and Bauval continue:
"As further support to this hypothesis, the French classicist Jurgis Baltrusaitis points out
that in a fragment of a manuscript from Saint-Hilaire concerning the Council of Rimini,
the city of Paris is actualy referred by him as 'Farisea Civitas,' ie the 'city of the Farisians'
or, as Jean Tristan has suggested, the city of those who worship Isis-Pharis or Faria-Isis..."
To this day, how fitting that 'Paris' and 'ISIS' are inextricably linked in a Grand Rite of
Innocent Blood Sacrifice.
In Ancient Egypt, the Isis cult consisted mostly of materialsacrifices, such as donations
and fasting, and devotees were very public with their displays
of worship to the goddess. It was at one time perhaps the largest competitor of Christianity,
with a more equal treatment of women (female priests etc). This Goddess of Rebirth has
apparently undergone a rebirth of her cult in the modern world.
Many dark (sombre) secrets lie hidden in plain sight in the modern city of Paris; the
gateway of Isis and Egypt and Hermetic thinking to the West...
_______________________________________________________________________________________ ABCBCA; The ‘A’ theme basis is a pseudo-canon using a multi-octave 33 notes sacred
geometry scale. 66 bars A1 33 bars A2, 66+33 = 99 is the new moon
Cube + flower/egg of life 26 + 7 = 33
6 circles encircling a 7th is flower/egg of life.
Al fl+En hrn+Cl+bsn+hrn+tp+tba=7 instruments
In terms of register/tessitura, the Cl is arguably the 7th middle circle in which the rest
surround above and below.
Brass is highest (tp C7) and lowest (tba C1) with a bunch of alto and tenor ww. Brass at top
and bottom of ad quadratum construction; akin to top of Head Temple of Freemasonry
and Albert Pikes'grave underneath it.
153, sq root 12.369, is number of full moons per annum. 153 figures prominently in the
Louvre and Bible. This is the Lundy Island to Presely Bluestone Quarry 2/3 ratio if
factoring Caldey Priory Church as the split point. 2/3 is the ratio of the fifth CG.
The full Moon is represented by this vertical harmonic interval tying in with 153,
12.369. 153 is CGE.
Claude Debussy wanted a Society of Musical Esotericism to keep their occult musics even
more out of reach to the unenlightened mass public.
Moon is 400x smaller than Sun. Moon is 400x closer to Earth than Sun. Earth rotates 400x
faster than Moon.
Egyptian Netherworld afterlife is the Duat; at Orion and Sirius. The Golden Gate is the
galactic midplane near Scorpio, the Silver Gate is the ecliptic plane of Earth, near Orion.
7/11 is ratio of Great Pyramid base radius and height, on a scale of 1:43000 size of the
Earth's polar radius and equatorial diameter
_______________________________________________________________________________________
400mm x 153bpm = 61200, 6+1+2=9.
11/8 and 7/8 compound time sig is 18/8. 18 is 9.
Beat pattern and subdivisions conducted like so:
Four and three ‘pseudo-clave.’ 7 beats in master cycle til reaching ‘sam’ again.
Subdivided like so:
3332|223
333 is 9, 2223 is 9 (three 2s).
11/8 7/8
3332|223
1234 567
X x
18/8. 18x400 is 7200 720 72 3600 360 36 18 9 all 9.
18/8 compound time sig simplifies to 9/4x400=3600 beats in the piece/153bpm is doubled
to 23.5 min is axial tilt of Earth!The piece itself is therefore half that, 11.75 minutes.
Isis and Osiris raising the djed was 23.5 angle to represent the tilt.
23.5x60=1411.7
14+11+7=32.
3+2=5 hinting at the 3 2 separation of CGC the full moon.
_______________________________________________________________________________________ 7 instruments 7 pointed star of Isis
Sequential decimal is 1/81.
.0123456789 etc becomes .012345679012345679 into infinity as you add 10, 11, 12, 13 etc
There are 81 stable naturally occurring elements. 81 is 9. Measure 81 belongs to Moon.
The Moon is 1/81 the mass of Earth. The Moon's magic square has 81 numbers.
6/5 where 6 is time and 5 is space. 6660in is 555ft
"Adenine is a hexagonal ring and a pentagonal ring, as is DMT, serotonin, and melatonin
There are 59 beads on the Rosary corresponding to 53 Hail Mary’s and 6 Our Fathers.
6 Gloria Patris for which there are no beads are also said in the Rosary bringing the
total number of prayers to 65.
The obverse of The Great Seal of the United States has 13 stripes (representing the
colonies), 13 stars in the “glory” above the eagle’s head, 13 arrows, 13 leaves, and
13 olives. 13 x 5 = 65.
In addition the feathers on the wings, 33 on the left and 32 on the right, add up to 65.
Also through “Pythagorean addition” 32 becomes 3+2 = 5 and 33 becomes 3+3 = 6.
The wings of the bird then represent the relationship between 6 and 5.
Multiplying Phi squared by 6/5 is Pi
1.2 x (1.6180 x 1.6180) = 3.1415
Illuminant D65 6500 Kelvins" -Scott Onstott
12/5 and 6/5 Jerusalem rectangles
The hexagram vs the pentragram, hexagon vs pentagon, 6 v 5 (Pope Sixtus V etc)
can be exploited by quintuplets and sextuplets, the pentatonic parts of the Flower
scale against the hexatonic for A2, etc.
In Paris, the Grand Arche is doubling the cube.
Moon is represented by 108 (silver), new moon by 99, and full moon by sq rt of
153 (12.369). mm81,162,243, 324, and 99, 198, 297, 396, and 153, 306, belong to the Moon.
108,216,324 do as well. Moon's magic square Sigma sums to 369, thus EAd in m. 369.
Moon diameter:distance=1:108
Sun distance to diameter
1:108
Silver
Atomic mass 108
Atomic number 47 (m. 47 has CG to denote the Moon).
Crystal structure is cubic
_______________________________________________________________________________________
Sum of Interior Angles = (n-2) × 180°
Each Angle of a Regular Polygon = (n-2) × 180° / n
3333.33 km from Western Wall of Jerusalem to Place de Nation Paris. The Louvre is
3333 (EEEE) meters from the Arc de Triomphe. The Arc De Triomphe has 12 avenues,
denoting the 12 pointed star, symbolizing the Zodiac. Where 8 is C 8va and 9 is D 8va. So obviously most of this is only going to be possible in C4
octave because of the multi-octave scale present. Only when transcending by playing Pi or
Phi can an instrument play the GPS scales ad lib, otherwise they are restricted to the multioctave
Flower/Egg of Life scale. If dueting Pi and Phi with another instrument, those
instruments are then both allowed to play retrogrades of any and all scales in this piece until
the next distinguishable section of music. But these GPS themes, sphere motifs, EEEE, are
the 'B' theme/sections.
6/5 is 1.2. 6 five times or 5 six times.
Cube octahedron by Da Vinci is 12 spheres surrounding a 13th, shows 7 planes of
symmetry. This will serve as our 'C' theme/sections.
The 13th as an ostinati with the other 6 instruments playing the 12 various motifs at the
same time in cacaphonic counterpoint. Remember that they need to play Pi or Phi first if
the octave they are playing these motifs in do not allow for it due to the multi-octave
Flower of Life scale restrictions. Have the Cl be the continuo 13th.
_______________________________________________________________________________________
Number to note master list:
GPS:
Grande Arche 48.892778, 2.235833 FccdDBBc, DDEGcEE
Arc de Triomphe: 48.8738, 2.295 FccBEc, DDdG
Louvre: 48.860854, 2.335812 FccArcGF, DEEGcCD
Eiffel Tower: 48.858222, 2.2945 FccGcDDD, DDdFG
Sphere motifs based on the same respective coordinates:
Fccd,
FccB,
FccA,
and FccG for North sphere motifs
Pi: 3.14159265 ECFCGdDAG
Phi: 1.6180339887 CACcrEEdccB
Flower of Life multi-octave 33 note scale:
C tuba lowest note is C1
Trumpeters can hit C7 by step, this C6 octave can only be mf-ff (more like f only).
C1 - quadratic: CEFG
C2 - pentatonic: CEbF#GB
C3 - hexatonic: CDbEbF#GB
C4 - heptatonic: diatonic ionian CDEFGAB
C5 - hexatonic: CD#EFGB
C6 - pentatonic: CDEFG
Start off with playing the entire scale from tuba C1 on up then back down but end it on
the highest note G6 probably in Cl once you get there the sixth time. This means 6
ascensions but only 5 descents 6/5.
General rhythm is eighth note tuplets
C1: 4:5 quarter note quadruplets, rest an 8th (11/8) - Tba
C2: 5:6 quintuplet rest an 8th (7/8) - Bsn
C3 6:5 sextuplet then rest (7/8) - Tba (upper half can be En Hn notes)
C4 7:11 septuplet 11/8 - Hn or Tp (perhaps w/ bucket mute)
C5: 6:5 rest two 8ths 7/8 - Al Fl
C6: 5:4 quintuplet tie the G6 for a few more eighth 11/8 - Cl Then C6 on back on down following through C1, then starting again ascending C1
and so on.
6 ascents x 6 bars =36mm
5 descents x 6 bars = 30mm
30+36=66
Notice the mirroring from C3 above and below in terms of the time sigs alternating, the
scale run theme is the only time this will be allowed to happen as it requires that the next
bar right after is also 11/8 to keep the cycle going back properly, which is why the C6
and C1 sorta repeat on the way back down.
_______________________________________________________________________________________
Time sig relation to measures
18 to 400
7200
Tetracontadigon. Star forms are tetracontadigram, such as the {42,11}, {42,13}, and
the {42,5} which has each interior angle at 137.143. This is accurate to the fine structure
constant by 99.92197857%. The fine structure constant is sometimes simplified to 137
and is the most sacred of all numbers. All other constants fall in line to it, and it is the
biggest mystery in all of science.
Because of this significance, mm 42,84,126,168,210,252, 294,336, 378 and 137 and 274
all hold particular importance for the 42-gon and 137 motifs, sorta like the Moon.
Tetracontadigram motif is 137.143 is CEB,CFE
Fine Structure Constant 'Alpha' is 137.036 is CEBrEA
Only during measures 137 and 274 can the Alpha be played, only during the 42 sequence
measures can the tetracontadigram motif be played.
Cube + Egg of Life is 33 (fruit of life is electron cloud, 4 spheres surrounding a 5th).
12+6+8+7=33
_______________________________________________________________________________________
Robert Bauval, in his book 'Talisman,' notes how the temples of Luxor and Karnac in Egypt
have an axial offset of 6 degrees. Louvre has an axis offset of 6 degrees compared to the
Axe Historique in Paris, as viewed from the July Column. Nearby in the Place de la Concorde
lies the obelisk taken from none other than the Luxor itself. Scott Onstott hypothesizes the
reason for all this is to make Paris a mirror of Egypt. The Luxor Obelisk is placed in the
center of the 86,400 sq meter Place de la Concorde, 864,000 miles is the Sun's diameter.
There are 86,400 seconds in a day. Axe Historique aligns to the heliacal rising of Sirius.
Scott Onstott also notes; "The location of the Grand Arch has a special relationship to the
Arc de Triomphe, the Luxor obelisk, and the Arc de Triomphe du Carrousel.
All four monuments are spaced in such a way to create this approximate doubling pattern
suggesting musical octaves. In addition, the Arc de Triomphe is roughly double the size of
the Arc de Triomphe du Carrousel, and the Grand Arch is about double the size of the
Arc de Triomphe. "In the scaling of the three arches I see three stargates representing the
human, planetary, and stellar bodies, just as we saw symbolized with cubes in London and
in DC. Notre Dame cathedral fits perfectly inside the Grande Arche. I'm guessing this is
no accident. A tune in three octaves if you will; I call it the symphony of the stargates."
_______________________________________________________________________________________
Dna helix, magnetic resonance, harmonic resonance, wave patterns of light, harmony of
colors' resonance or their discord etc. It's all told by 3 little 'strings.'
Two variable magnetic currents around neutral particles of matter, the Rod of Asclepius,
the Serpents and the Scepter, the caduceus.
Just these 3 things compose the entire
Symphony of the Universe.

Ha it's all good @Adrian Quince.
The lack of development was purposeful to make the aural experience more accessible to non-musicians since it was already a C pandiatonic palette. Instead of changing much of the notes and rhythms themselves (though this constantly does happen in the harp throughout, particularly in the figurations of mvmt I, and in II, as well as in the vioolin 1 part of mvmt 3, and in the extended techniques in the strings in mvmt II and to an extent mvmt I), I decided to drive down an entirely different avenue of develpment technique and style. The motives, germs, themes, figures etc are convertibly counterpointed with each other at different spots and in different ways (especially the main motif of movement III, though the extent and development of the convertible counterpoint is in itself minimal and bare, undeveloped and perhaps undexplored so as not to meander). Alson all the chittara pizz are extremely easily playable. Perhaps you are talking of the KB, in which case its scordatura EACF throughout in case you missed it, so thats literally just strumming all 4 open strings lol...
That said, all critiques of my piece were definitely spot on regardless of aestethic sensibilities and differences of me or the judges, big ups to everyone for taking the time to critique as that's the only way we get better (whether individually or communally).
Admittedly I have not really looked at the other pieces beyond a mere skim. Been busy with orchestration and copyist work lately in addition to my day job as a cook, so I will definitely check into the others' pieces real soon now that the dust of the competition is settled. To be honest, I actually finished and posted up this piece on the internet before I even saw the YC Winter 17 competition, but I realized my piece would sorta work for this. The 2 page program notes were already there obviously, and I figured I would get docked on the narrative part (both the story and it's realization in the music) because of this after-the-fact semi-fit. Perhaps I will participate more in these now. Cheers to everyone.
PS for anyone wanting to learn more about the nature of Sacred Geometry on which this piece is based (the only time people do Sacred Geometry in music is the tired old Fibonacci sequence), look up Scott Onstott and Randall Carlson. http://www.secretsinplainsight.com/

Thanks guys, it couldve easily been needlessly dissonant with the sets, but I felt the piece would be more compelling aurally if the sets wete based on c major. Making something exciting yet playable, particularly for harp was really the hard part of this work. I wanted to evoke genetic memories of the deep past, premonitions of the future, and tinglings of other worlds and dimensions; the unknown.

Silver Embers of Boleskine Manor.mp3
View the score and all parts: https://drive.google.com/drive/folders/0B6jlOCXV6ldFU0hPTHRoSG9fSHM
It also received the 15 second harp treatment, proving the feasability of the quadruple simultaneous slide technique:
https://m.facebook.com/story.php?story_fbid=412071119141885&id=207034236312242
I'm not really sure how to describe this piece beyond it being like a pandiatonic to C major set theory and generative process compostion, so there's that. I will also copy past the program notes:
Boleskine
57.2653° N, 4.4747° W
Stonehenge
51.1789° N, 1.8262° W
Pyramid
29.9792° N, 31.1342° E
Use Stonehenge Longitude west as a scale degree pattern, as well as the pyramid longitude and the Boleskine longitude. In C:
Longitude Motifs:
Boleskine:
FFBFB
Stonehenge:
CcDAD
Pyramid:
ECCEFD
Binumeral Motifs:
Boleskine: 44 47 74 FF FB BF
Stonehenge 18, 26, 62, 82 Cc, DA, AD, cD
Pyramid: 31, 11, 13, 34, 42 EC, CC, CE, EF, FD
Harp can enharmonic the pyramid 3113
E/Fb, C/B#
And Boleskine 47
F/E#, B/Cb
The strings are perfect for Stonehenge.
Scordatura KB can be pyramid to emphasize that bassy Earthiness
EACF instead of EADG
9
108
12
36
72
144
666
Moon diameter:distance=1:108
Sun distance to diameter
1:108
Various gematria:
47, 74
Peace
23.5+23.5=47, mvmt I m. 47 has a pedal slide in the harp to signify the Earth's tilt.
66.66 nautical miles is 123454.32 meters. In mvmt I m 66 violin 2 plays a run of cdefgfed to represent this.
44 Baalbeck
Baalbeck is where the temple of Bacchus is.
This temple has dimensions of 66x31x35 meters! 66 and 66
The perimeter is 202m. 202 gematria leads to the great pyramid and the golden ratio.
4747 leads to '13.56 mhz applied to water vapor'. Found a study of a device with a 13.56mhz power supply, that used plasma
to extract hydrogen from water vapor. Plasma generators are upcoming 'free' energy devices, many seem to be using 13.56mhz
from the ISM rf standards.
Perhaps the pyramids are plasma generators
Earth's orbital velocity
66,648mph 4 (tetrahedron) x12 (dodecahedron) =48 4+8=12.
12 apostles. A dodecahedron is 12 pentagrammic or pentagonal faces, pentagon, 5.
Plato said the universe is a dodecahedron, which is found to explain the particularities of the cosmic microwave background.
666:108 time, tempo, beats, bars etc
666-108=558 666+108=774 66+108=174 108-66=42
Silver
Atomic mass 108
Atomic number 47
Crystal structure is cubic
Cubes have 12 faces, 6 sides, 8 vertices
Total angle degrees 2160
216/2=108
KB and Harp represent the pyramids
Strings represent Stonehenge
Tutti Represent Boleskine
3 mvmts
I. 66 bars
II. 31 bars
III. 35 bars
Architecture of the first mvmt is a binary of 35 and 31 bars. 24 bar base with 11 or 7 bars of development, 11+7 is 18, 1+8 is 9.
So write out a 24 bar base, then you can vary it in each binary section later, and then insert development episodes, cadenza,
and prologue bars ad lib to reach 11 and 7.
Architecture of mvmt II. Beat patterns follow the cube. Also, every 24 beats (8 bars) a 'sam' cycle of polyrhythms.
12 beat pattern in harp (4 bars in 3/4x2=8bar)
6 beat in kb (2 bar in 3/4x4=8bars)
8 beat in strings 2 2/3 bars (3x=8bars)
They align at 24, 48, and 72, and 144 beats
31 bars in 3/4 is 93 beats, so the biggest possible alignment is the 72 beats, which is 24 bars basis, 8bar theme x3 occurrences
with variation in each (sort of like theme and variations form).
Architecture of third movement is cube+9. 12+6+8+9=35 bars
Ratio of bars to minutes/time/length of piece
1 132 bars
----- ------------
108 14256/144=99
99 is the simple gematria for new moon (silver/108 also represents the full moon), 594 is the english gematria. 594 seconds is
9.9 min, total length of the piece
I. 4/4, 66.6 bpm 66mm 237 sec
II. 3/4, 36 bpm 31mm 155 sec
Which leaves 202 sec to reach 594 so
III. 5/4 51.75bpm 35mm 202 sec
202 is temple of bacchus perimeter
66+66+35+35=202meters
Temple of Bacchus represents Helios(sun god) or Jupiter depending on which culture was using it at the time. Ratio of Jupiter's
distance from sun compared to earth's to sun is 5:1. 108(lunar)x5(solar and jovian) is 540:1. 540 is a pentagon, which is the
shape that represents homo sapiens.
The latitude of Stonehenge is 51. The Pyramid is angled at 51 degrees. 5-1 V-I G-C pretty much doesn't occur in this piece, really
only the harp ever plays a G and even then it's orchestrated under the rug. Mostly you just get the resonance of G from the G's on
the harp in sympathetic resonance with the rest of what is happening in the piece, and overtones. Thus through omission and
undermining, the omnipotent and grand significance of 51 is in a way all throughout any given moment of time in this piece.
It cannot quite be heard or seen, but simultaneously it is in a way always there, everywhere, flowing throughout.

Hope this isn't too late: Minimum union rate for an orchestrator to take your sketch and put it in sibelius (in my case sibelius 7) and engrave it is 60 USD per 4 bars. That's the minimum 'per page rate'. If you hire a non-union, they will charge more than that. Most union orkers will charge more than the minimum anyhow, and they also have to get 10% for royalties etc, which most likely isn't going to apply in your case. After engraving in a score and all parts in Sibelius, now the orchestral mockup must be made in a DAW (I use cubase) with a sample library (I use primarily Vienna Symphonic Library with some EastWest things here and there). That's going to be negotiable. Professional companies that do midi mockups would charge about 300-500 USD per minute of music. This is the same rate that media music composers charge producers per minute of music. I would charge 60 USD most likely, or another type of rate could be negotiated (ie 3 dollars bar of music where 12 staves or less are used, 6 USD per bar of music where 13 staves or more are used). I'm not at my work PC right now but I will post some scores, parts, and audio of my work for you to see if you're interested.

Peter Alexander's Professional Orchestration series. Vol 1 is the instrumentation manual, Vol 2a/b is for the melody in strings, melody in winds, and melody in brass. Vol 3 is coming out around this time next year, and is melody in combined sections. Vol 4 shortly after will cover harmony of the sections. debussy's la mer, particularly the first movement and the dialogue of wind and sea are remarkable, particularly the string color/and divisis. ravel's mother goose suite is simply amazing in all aspects. I have the complete handwritten scores to countless John Williams works, all of Indiana Jones, all of Jurassic Park, Most of star wars, all of ET, and more. that's probably the greatest single resource on orchestration, john william's handwritten scores. thomas goss is getting ready to come out with his own orch course, join the orchestration online group on facebook or lookup orchestration online on youtube. robin hoffman has fantastic daily scoring bits. the overtures of wagner operas are pretty clever, look for the flying dutchman and parsifal in particular. dutchman has awesome string writing, check how he doubles what strings with which wind/brass and at what intervals, and when they change. analyzing flying dutchman like this will really get you memorizing the sound of different intervals and different doubles. it's mostly your own personal score study.

this is exactly what the pro orch series does, particularly vol 2a/b and the upcoming volume 3 for harmony. for instance, volume 2A, chapter 22: "violin 1 + violins 2 - violas + cellos (octaves)" so on and so forth for literally several thousand pages. enjoy